Tag Archives: rhys edwards

The Missing Corner—Legends lost and found at Satellite Gallery

by Rhys Edwards

photo 4

The eclecticism of the O’Brian collection encourages patrons of Cindy Sherman meets D’zunukwa to find parallels between works which wouldn’t normally be shown together. Although Sherman’s pre-eminent status within recent art history warrants her inclusion in the title of the exhibit, the combined efforts of the show’s four curators have produced an array of relational meanings which extend far beyond her immediate presence. The most interesting of these meanings, arguably, reside in the far corner of Satellite’s first gallery space. Continue reading

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Laughter into Tears: Ayman Baalbaki’s Destination X

by Rhys Edwards       

 safar-ayman-baalbaki-destination-x

When I take visitors on tours of MOA, I occasionally bring them into the Audain Gallery to show them our major contemporary art exhibition, SAFAR/VOYAGE. Although visitors express an interest in all the works in the room, there is one piece in particular which seems to draw the most enthusiastic response: Ayman Baalbaki’s Destination X. Continue reading

NEON LEGACY

by Rhys Edwards

MOV-Neon-BuddhaImage courtesy of Museum of Vancouver

Was there ever time when Vancouver was “authentic?”

The Museum of Vancouver’s latest permanent exhibition—Neon Vancouver/Ugly Vancouver—recounts the history of Vancouver’s love affair with neon signage. Several conserved signs illuminate visitors as they browse the documents that reconstruct this history. Among other things, visitors are asked if the abundance of neon signage in Vancouver, between the 1950s and 1970s, indicates the authenticity of this era. Continue reading

The Ongoing Adventures of Dash Fantastico and the Blazing Buckaroos….Episode 21: The ¡FNARG! Pit

By Sean Michael Nelson | Cover Art by Rhys Edwards

Rhys Edwards, Dash Fantastico Episode 21 Cover

When we last left our daring hero, Dash Fantastico, he was venturing deep into the headquarters of the dreaded Scarlet Syndicate to prevent the firing of the evil Chairman Grop’Th’Tul Chang’s Neutron Death Ray at the intergalactic capital of Von Braun City on Earth’s artificial moon Nova Luna.

Who knows what dangers await Dash as he courageously makes his way through the maze-like corridors of Chang’s bureaucratic barracks…
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Sorry, We’re Closed

by Rhys Edwards

Rhys Edwards opens up about his alienating search for contemporary art in the UK this summer.

I travelled to the United Kingdom earlier this summer, where I took the opportunity to visit a variety of contemporary art institutions. In taking the trip, I had hoped to expand my visual horizons, while gaining firsthand experience with the work of some of the most innovative and exciting artists in the world.

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Emily Carr and the Theatre of Transcendence

by Rhys Edwards

Emily Carr and the Theatre of Transcendence is refreshingly daring. It’s located on the fourth floor of the Vancouver Art Gallery, where few are likely to venture after trawling though an abundance of other spectacles. And, while the Gallery’s endorsement of Carr is ever-omnipresent, the variety of artworks on display exhibit a clear and consistent engagement with transcendentalism, while some works overtly aspire towards or even exude sublimity.

Emily Carr, Tree Trunk [detail], 1931, oil on canvas, courtesy of Vancouver Art Gallery

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2 on 1: An Interview with Adriana Estrada-Centelles

by Stella Hsu and Rhys Edwards

Bullets from the Body of CrimeThe Body of the Crime by Marcos Ramírez Erre

Satellite’s bloggers Stella Hsu and Rhys Edwards interview the curator of our current exhibition Broken Borders

Stella Hsu (SH): Describe the narrative of how Broken Borders came to be.

Adriana Estrada-Cantelles (AEC): During the first year of my masters in Critical and Curatorial Studies at the University of British Columbia, many of the readings and discussions were focused on the war on terrorism and the relationship between war, violence and contemporary art. Art history and contemporary art theory have developed ways of thinking about the resulting violence as well as the various forms of its representation in contemporary art. This war on terrorism, between the United States and Middle East, has left aside other urgent conversations on war and violence, such as the drug war in Mexico. I was interested in foregrounding, in terms of curatorial practice, a contemporary war on a much more complex, global scale that has changed the artistic production of many Mexico-based artists.
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